New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-01-09
SCENE-P1IN1IAG as HIGH ART.
THE WAY THAT HENRY HOYT OF TIE METR0POL

THE WAY THAT HENRY HOYT, OF TIE METROPOLT
TAN, LOOKS AT 1T.
Tho " bridge" at the METROPOLITAN Opera House
sweeps distance Of seventy feet at the back OF
the stage and rises thirty feet above 1t. on
either side OF it hangs hugh seventy feet by
forty upon which Henry Hoyt tho scenic artist OF the
house. paints tho designs given Jim by the manage
tor the of the operas to he produced
Mr.. HoytIs a man OF middle life somewhat stout.
active with keen eye and bright, buoyant manner.
He il brmiul of Ideas-nOt alone In his own cld-an
artist who believes painting fine art, and
who has risen to the top of his field OF WORK
through the force OF his own individuality.
Speaking on the subject Of scenc-p painting az he
stood the bridge " the other day. pausing with
brush in hand after giving touch to the Hover scene
in Mer in" Mr. Hoyt said with smile:
Scenic art has got TO higher plane than In the DAYS
when in order to proCuce q moon or sun effect hole
was cut in the canvas and the light was thus let
through. Still, scene painting does not by auy
means yet bold the position in the world OF art to
which it ia entitled. IL certainly deserves 10 rank az
important the art Of painting 10 oils Tor it requires
better knowledge OF linear irrespective and the
painter has TO adapt his work to an average
dsance IRON the OF people in the house and 10
the light in Sh CHI IT appears 1t Is easy enough 10
slap daub and produce scenery wb Gu passes, but
real artist rs content with that kind 0 work.
But there various causes which are at work TO
prevent painting advancing an art as 1t
should the pace, the painter Is SUBJECT 10 the
to the GERS ideas and these are often based
what has been il the cns.om Rather than upon
artistic view. One thing which perhaps more
tuan any other dlscuurages tie painter IA an
artist is found in e crude criticisms a'sed III on his
work The muaical dramatic critic. competent IN bis
ted, liz mary times not at home III the hoinsi Oh
scenic and il not Judge OF its ELECTS, Row tbcy
are produced, il needed and ten in his crit
cisms OF the production of opera or play Will
merely throw hapbazard glance at some scene,
condemning or possibly pa-ing It he knows not bow
why, and the consequence Ia that alter the artist
has conceived something original, precisely suited 10
the needs OF q scene ami hcightening 's effect be IS
Discouraged by haety or ill-adysed judgment The
operate cIuo should DO versed in the laws III art and
especially those applicable to scene-paintlng he
should he the bridge more than he IA and become
conversant this ield then he ma' become ~ aid
in dcye oplng scenic art.
"Stdl believe tina, in tbis country we are N adj
vance of Europe scene painting a. an ART For that
matter know that are. The result OF my VISITS I"
the various cities the Continent where tie best
scenic ar isa to he found leafs TO this belief
The cher reason for this ia that scene painting IN
Europe il cas-cd with the pachinists and carpenters
work hero A. a scene pain er gets pict-
nre accepted tor hanging he acts ashamed OF hi'
bread and butter occupation ignores IL aad devoes
himself TO what he calls real art In tins
way tho be7l sccnr-painrcrs are being constantly
wccled out Their arc in consequence very fcS good
scene painters abroad, with little or no cOnsrnc-
tive ability, doing mechanical work, constituting
the body OF them"